View allAll Photos Tagged published
© حقوق النشر محفوظة.. لا يمكنك استخدام الصورة
© Copyright.. You can not use!
Caution :
Please
Don`t Comment With Your Last Picture .
Your Comment Will Be Deleted .
My photos may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission
With my Sigma 10-20mm F4-5.6 EX DC HSM
For any business stuff you can contact me on my Email : omar-photographer@hotmail.com
Thanks for being here
اشكركم لوجودكم هنا
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Opening act di Hey Violet il 4 dicembre ai Magazzini Generali di Milano, Jessarae.
In his writing, playing, and performing, 18-year-old Jessarae (Jez-uh-ray) reveals a true, old soul in a young man’s body. Jessarae takes his place as an unrelenting talent whose guitar playing and songwriting can be felt in your gut and in your soul. His music offers a raw, melodic, sometimes acoustic, garage rock that recalls seminal influences from Damien Rice to My Bloody Valentine. Juxtaposed with a uniquely broad and meticulously controlled vocal range and confidence, Jessarae's developed sound is a reflection of his near decade of experience in creating and performing.
Known for his singles "Follow Me," "Wild Ones," and "Milk and Honey," the singer and songwriter known as Jessarae established a formidable presence on social media, having attracted nearly 15,000 Twitter followers, close to 5,000 YouTube subscribers, and over 20,000 Facebook fans by early 2015.
His first YouTube post, uploaded in July of 2013, shows him playing a cover of the Johnny Cash song "Folsom Prison Blues" at the Warped Tour in Pomona, California.
In February of 2015, he toured with the alternative rock band Saints of Valory.
Born Jesse Robitaille, he is the son of Stacia Toten and former NHL star Luc Robitaille and the younger half brother of Vampire Diaries actor Steven R. McQueen.
Like fellow California musician Eric Statz, Jessarae promoted his music on SoundCloud.
About a year ago, I got a message from someone at Mercedes-Benz. They wanted to make a book with photos of their cars taken by “real people” and with the stories behind these photos, and an old test shot of mine had made it into their selection.
To cut a long story short: I made a proper scan of the negative, signed an agreement, and some time later I got some cash (quite a lot for a test shot actually) and a copy of the book. It has a fancy lenticular cover featuring two different sets of 25 thumbnail images each. Actually I didn’t even notice that my photo was also on the cover until today when I started figuring out how to document this “milestone” photographically.
The book, titled “Through the eyes of the world”, contains short forewords from Dieter Zetsche (the CEO of Daimler AG), Stewart Butterfield (one of the Flickr co-founders), and Uwe Düttmann (a renowned photographer who directed many campaigns for Mercedes-Benz).
Unfortunately, “published” is not the whole truth in that the book is not really available for purchase—instead, they are giving it away to a selection of Mercedes-Benz customers. But there is a Flickr group (“Mercedes-Benz—Through the Eyes of the World”) which aims at putting all the photos from the book in one place.
My friend, Dr. David Evans, who is a Curator at the Royal Ontario Museum asked if one of the photos I took while I was down working with him and Dr. Michael Ryan as part of the Southern Alberta Research Group field crew for an article in the magazine. They are great guys to work with and I have learned a lot in the four summers (so far) that I have had the opportunity to head down to their field area and join them. Not only do we work hard and have fun in the field, but the vibe in field camp is always very good too with everyone chipping in to help where needed and lots of fun had by all!
I know I said that this week was going to be photos from my trip last year to Lake O'hara with my mom, but I received this in the mail today... A complimentary copy of ROM Magazine in which one of the photos I took while participating in the SADRG 2008 field season is published! How cool is that!?
Created with fd's Flickr Toys
Also, I know I'm way behind on commenting, but I promise I'll try and get caught up soon!
Well, this 1cm long fellow came round today to model for me. Sweet isn't he??? I used a EF-S 55-250 IS reversed to shoot him.
This is my first ever picture to be published!!!
Practical Photography July 2009 p12
This photograph was published in the Illustrated Chronicle on the 26th of September 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Opening-act dei Whitesnake all’Alcatraz di Milano il 29 novembre 2015, The Dead Daisies.
Influenced by 70’s and early 80’s hard rock, The Dead Daisies sound is soulful and accessible – equal parts of The Faces, Bad Company and Foreigner: muscular vocals, bluesy riffs, big choruses, powerful melodies and strong hooks. With stellar musicianship and pulverizing live shows, fans across the globe are discovering the band that is bringing back Rock & Roll!
The musical collective is created by a rotating line-up that features some of the best Rock musicians on the planet. This includes: Richard Fortus (Guns N’ Roses/The Psychedelic Furs), Dizzy Reed (Guns N’ Roses/Hookers and Blow), Darryl Jones (The Rolling Stones), Charley Drayton (The X-pensive Winos/The Cult), Jon Stevens (Noiseworks/INXS), Brian Tichy (Ozzy Osbourne/Billy Idol), David Lowy (Red Phoenix/Mink), John Tempesta (The Cult/Rob Zombie), Marco Mendoza (Thin Lizzy/Whitesnake), John Corabi (Motley Crue/RATT), Alex Carapetis (Julian Casablancas + The Voidz/Nine Inch Nails), Bernard Fowler (The Rolling Stones) and Frank Ferrer (Guns N’ Roses/The Psychedelic Furs).
Richard Fortus, originally from St. Louis, Missouri, is probably best know for his ‘other’ position, guitarist with legendary American rock band Guns N’ Roses where he handles both rhythm and lead duties since first joining the band 2001.
Marco Mendoza is a well-known face around the rock music circuit. His bass playing skills have seen him hold down the rhythm section for many legendary bands like Thin Lizzy, Whitesnake, Dolores O'Riordan, Lynch Mob and Ted Nugent among others.
John Corabi was already an established singer in the rock world with bands like Angora and Scream before he joined Motley Crue in 1992 as their new lead singer. He recorded the critically acclaimed self titled album before Vince Neil returned in 1996.
Dizzy Reed is a multi-talented keyboard/vocalist who has been part of The Dead Daisies line-up since 2013.
Brian Tichy started drumming from age 8. He attended the prestigious Berklee College of Music from 1986-1990.
Throughout his career, rhythm guitarist David Lowy has extensively played with various Australian rock bands, including Red Phoenix, Mink and Doc Neeson’s Angels. Read
David Lowy – rhythm guitar
Richard Fortus – lead guitar
Dizzy Reed – keyboards
Marco Mendoza – bass
John Corabi – lead vocals
Brian Tichy – drums
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Lo sposalizio è stato il corpo e il pane della comunità. Il mattone fondante della comunità. Veniva consumato con il cibo e con la musica. Una specie di eucarestia in cui la nuova coppia veniva ingerita dalla comunità che gli si stringeva intorno avvolgendola di stelle filanti nell’ultimo, infinito ballo dei “ziti” (che così si chiamano tanto gli sposi quanto la pasta). La musica aumentava vorticosamente di ritmo fino ad assorbire la coppia che finiva per girare avvolta come uno spiedo in una girandola colorata di fili di carta. A quel punto era digerita e pronta per generare e rinnovare la comunità. Questa musica che accompagnava il rito era musica umile, da ballo, adatta ad alleggerire le cannazze di maccheroni e a “sponzare” le camicie bianche, che finivano madide e inzuppate, come i cristiani che le indossavano. Un repertorio di mazurke, polke, valzer, passo doppio, tango, tarantella, quadriglia e fox trot, che era in fondo comune nell’Italia degli anni ‘50, ‘60, e che si è codificato come una specie di classico del genere in un periodo nel quale lo “sposalizio” è stato la principale occasione di musica, incontro e ballo. Poi le tastiere elettroniche hanno preso il sopravvento e gli sposalizi sono diventati matrimoni. L’aria condizionata è entrata in un altro genere di ristorazioni in cui la musica è diventata una specie di dessert più parente del liscio che dell’epoca mitica dei mantici, dei violini e delle farfisa.
A Calitri, in alta Irpinia, negli anni in cui è esistita una comunità, che è poi finita frantumata nelle migrazioni che sono state il sangue vivo dello sviluppo, questa comunità si è rinnovata e celebrata in un luogo cardine del paese: la “casa dell’Eca”. Nei racconti della mia infanzia si è trasformata in “casa dell’Eco”. La casa dove nasceva l’eco. Eco della musica, degli schiamazzi, delle burle, delle feste, luogo del pantheon dei personaggi mitici che fanno una comunità in cui si viene ribattezzati e realmente ri-conosciuti, nel soprannome che la comunità stessa impone, in luogo della chiesa. Da qualche decennio la casa dell’Eco tace, e l’unico eco che si spande è quello dei racconti. Se ci si appendessero dentro le fotografie di tutte le coppie sarebbe un sacrario di guerra. Giovani con la divisa nuziale che andavano ad affrontare, sparacchiando, la vita, dopo la sparecchiatura dei tavoli della casa dell’Eca.
Qualche anno fa, un gruppo di anziani suonatori di quell’epoca aurea non priva di miseria, ha preso l’abitudine di ritrovarsi davanti alla posta nel pomeriggio assolato. Avevano l’aria di vecchi pistoleri in paglietta. A domandargli cosa facessero appostati davanti a quell’ufficio postale, rispondevano che montavano la guardia alla posta, per controllare l’arrivo della pensione. Quando l’assegno arrivava, sollevati tiravano fuori gli strumenti dalle custodie e si facevano una suonata. Il loro repertorio fa alzare i piedi e la polvere e fa mettere a ammollo le camicie sui pantaloni. Ci ricorda cose semplici e durature. Lo eseguono impassibili e solenni, dall’alto del migliaio di sposalizi in cui hanno sgranato i colpi. Hanno nomi da gloria nella polvere: Tottacreta, Matalena, il Cinese, Parrucca. Il più impassibile di loro non aveva nemmeno bisogno di un soprannome, tanto era lapidario il nome originale: Rocco Briuolo. Ora Rocco è andato a suonare “due Paradisi” tra i santi che ha dipinto come fossero suoi compari. Tra santo Canio e santo Liborio. Ora può, come nella vecchia canzone, dire a san Pietro guardando giù, che “il Paradiso nostro è questo qua”. E con ragione, perché la sua umanità, il suo violino e il suo pennello, hanno portato un poco di divino in noi, che l’abbiamo conosciuto. La sua “Banda della Posta” lo accompagna con la filosofia nella quale è vissuto: un lavoro ben fatto, che non si prende mai sul serio. A lui è dedicato questo disco fatto di racconti in musica, cic’ tu cic’ e bottaculo. A quadriglie, a cinquiglie, fino all’incontrè.
Banda della Posta:
Giuseppe Caputo , "Matalena" - violino
Franco Maffucci , "Parrucca"- chitarra e voce
Giuseppe Galgano, "Tottacreta"- fisarmonica
Giovanni Briuolo- chitarra , mandolino
Vincenzo Briuolo- mandolino , fisarmonica
Giovanni Buldo , "Bubù"- basso
Antonio Daniele- batteria
Crescenzo Martiniello, "Papp'lon" - organo
Gaetano Tavarone , "Nino"- chitarre
i did a shoot for a philippine theater group here in tokyo..
they are going to stage a play in shibuya this sunday..
the play is called DULAWITOG
a mix of play, and songs.
the shot was from metropolis magazine issue March 6, 2009.. :)
chicagoist.com/2012/08/20/in_pictures_the_2012_air_water_...
www.flickr.com/photos/profilesofnature/7812807628/in/phot...
I was searching for warblers when I heard the planes and pointed the camera downtown
I'm against the promotion of the Military-Industrial complex that the Air Show represents!
This is a photography challenge and not warship worship!!
These four images plus two more images used as promos were in The Plain Dealer today. This is a full newspaper page in our Inside & Out section. Promo images are in photostream below.
Our daily circulation is 356,286 with daily readership estimated to be 883,690. So if only one in four readers finds this page, that's still 200,000 "hits," which is much better than this page will do on Flickr!
The images: Flying tigers, Julia butterfly, www.flickr.com/photos/jonfobes/106667951/ Pink orchid and Zebra butterfly.
I hadn't planned to, but I ended up writing the text block for these images, which reads:
Awesome. Orchids. Everywhere.
That pretty much sums up the Cleveland Botanical Garden's "Orchid Mania: Blossoms & Butterflies" show, running through March 26.
The other thing to know about the event can be summed up in even fewer words: bountiful butterflies, approximately three times more than normally seen in the Cloud Forest of Costa Rica biome in the Eleanor Armstrong Smith Glasshouse.
You'll see, among others, Postman, Cattleheart, Zebra Longwing and Julia butterflies and also the captivating Blue Morpho; you'll watch them flutter around orchids, ginger blossoms, leaves, branches and even land on visitors, providing magical moments that have patrons pointing their cameras in three directions at once and clicking shutters as fast as their fingers can function.
And don't forget to visit the spiny desert of Madagascar, also in the glasshouse. The resident chameleon is as beautiful as any flower.
But the stars of this show are the awesome orchids: Big orchids, small orchids, white orchids, purple orchids ... some peer out from frames as living artwork, others spring from free-standing orchid sculptures, and others congregate in pots that haunt every nook and cranny of the botanical garden.
As one weary worker said Thursday during setup for the show, "If there's such a thing as orchid overdose, this might be it!" But of course, there's no such thing as orchid overdose, just as there's no such thing as too much beauty – you always want more.
The Victorians coined the word "orchidelirium" to describe flower madness – now I know why.
My first publication ever in a specialized photo magazine.
Thanks to the Better Photography team for selecting my photo.
Published in The Unofficial Guide to Britain's Best Days Out: Theme Parks & Attractions.
This picture is available to use for free, under the creative commons licence. All I ask is that I'm please given a photo credit & a courtesy email to let me know how it's being used.
Had the pleasure to work with Playground magazine again for the Fall release! Fashionable girlscouts.
Peaky Blinders at The Moseley Arms, Digbeth.
I recall seeing it from the no 50 bus on the Moseley Road, so while in Digbeth this time I popped into the car park.
Car was in the way though.
Birmingham City Football Club.
Landmarks such as the Town Hall, Chamberlain Memorial, Bullring Bull and Library of Birmingham.
Published in the Birmingham Mail Your Flickr photos page on Thursday 6th February 2020.
I seem to have fortunate timing. I emailed Camera West yesterday looking for an X100S right after they had taken one in as a return. I drove up to Walnut Creek this morning, picked it up, and spent the afternoon out at the park with Katie playing around with it. Still a lot to learn about using this particular camera. So far it's small, light, but behaves in the way I'd expect my SLR to behave. With an APS-C sized sensor and a f/2 lens, I can get good subject isolation and fast shutter speeds, although given the way the camera autofocuses I wouldn't expect much action photography with it. Anyways, I'm really really happy so far. I'm looking forward to my New Orleans trip where it'll really get a workout. #x100s
This photograph was published in the Illustrated Chronicle on the 28th of August 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Published by dr Guenter harnisch Verlags GmbH, Nuernberg.
wonderful Hagiography published in English by German company. No need to overthrow him in a NATO inspired coup - he's our man.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
La popstar britannica Rita Ora arriva in concerto in Italia il 30 aprile 2019 al Fabrique di Milano.
Rita Ora, nata Rita Sahatçiu, è una cantante, attrice e modella britannica di origine kosovara.
Nel 2009 l’artista viene notata dal rapper e produttore musicale Jay Z e successivamente appare nel video “Young Forever” dello stesso Jay Z oltre che nel video “Over” di Drake.
Nel 2011 viene pubblicato il singolo di DJ Fresh, “Hot Right Now” interpretato dalla cantante. Il singolo debutta alla vetta della classifica in UK e il video riceve oltre 50 milioni di visualizzazioni in pochissimo tempo su YouTube.
“ORA” è il titolo del suo album di debutto, pubblicato il 27 agosto del 2012 nel quale ha collaborato con importanti artisti come Will.i.am, Ester Dean, Drake, The Dream, Kanye West e da cui sono estratti i singoli di successo “Right Now”, “R.I.P.” e “How We Do (Party)” subito alle #1 posizioni delle classifiche in UK. Nel 2014 pubblica i singoli "I Will Never Let You Down" con cui debutta in vetta alla classifica in UK e "Black Widow" con Iggy Azalea, entrambi certificati oro in Italia. Nel frattempo accetta di ricoprire il ruolo di coach a The Voice Uk 4 in compagnia di Tom Jones, Will.i.am e Ricky Wilson e successivamente viene scelta come giudice per il talent X Factor UK. Nel 2015 viene pubblicato il video del singolo “Poison”, e successivamente il singolo “Body on Me” in collaborazione con Chris Brown. Nel 2017 pubblica il singolo “Your Song”, brano scritto da Ed Sheeran, certificato disco di platino in Italia e collabora con AVICII in “Lonely Together”, già disco di platino in Italia, per cui ha vinto nella categoria Miglior Video Dance agli MTV Video Music Awards. Il 20 dicembre 2017, collabora con il collega britannico Liam Payne al singolo “For You”, colonna sonora del film Cinquanta sfumature di rosso, certificato oro in Italia.
Nel 2018 esce la collaborazione tutta al femminile “Girls” con la rapper Cardi B., Charli XCX e Bebe Rexha. Il nuovo singolo “Let you love me”, invece, ha già superato 50 milioni di visualizzazioni su YouTube e oltre 45 milioni di stream su Spotify.
“Phoenix” è il nome del secondo album dell’Artista, che verrà pubblicato il 23 novembre 2018.
© ICEH.
Published by the International Centre for Eye Health www.iceh.org.uk, London School of Hygiene & Tropical Medicine.
This photograph was published in the Illustrated Chronicle on the 20th of July 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
TV station WBIR in Knoxville used a couple of my photos in their Tennessee Travel segment on the Paperclip Holocaust Museum of Whitwell, TN. My photos appear at 2:32 and 2:52
This photograph was published in the Illustrated Chronicle on the 24th of December 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
2011-11-12 017
My photo was selected for the certificates given to new Pacific Battleship Center members.... plankowners.... between now and December 23rd ! www.pacificbattleship.com/memb10.html Starting at just 25 bucks.
(From the PBC website:) " Plank Owner Memberships
In order to reward those who demonstrate their early faith in our organization, The Pacific Battleship Center has created our Plank Owner Membership program. Plank Owner Members get special privileges, such as being invited on board the ship before the general public and having their names forever inscribed on a commemorative plaque. But that's just the beginning. The higher the donation amount, the more benefits a plank owner receives."
Square Pusher
Sonar Reykjavik
February 2016
Reykjavik, Island
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Information published in the 1980 Program for Chatham Navy Days
HMS SEALION is a Porpoise Class Patrol Submarine; one of sixteen in service with the Royal Navy.
Patrol Submarines are diesel-electric powered and torpedo armed attack boats. Their primary wartime role is the detection and destruction of enemy submarines and surface ships. In addition, they can be used for intelligence gathering, minelaying, and landing agents.
HMS SEALION is 295 feet long, displaces 2,400 tons dived and has a crew of 71. The second submarine to bear the name in the Royal Navy, she was built by Cammel Lairds at Birkenhead and launched on 31 December 1959.
Submarines of this class are capable of high underwater speeds, have many silent running features, and are able to maintain long submerged patrols. These abilities, together with an armament of homing torpedoes, make patrol submarines formidable opponents for surface ships and other submarines.
HMS SEALION had a World War II predecessor -a submarine of the `S' Class launched in 1934 and finally destroyed when in use as an anti-submarine exercise target in 1945. She served with distinction in the Norway and Mediterranean campaigns.
An earlier HMS SEALION, the first vessel of the Royal Navy to bear the name, was a trawler launched in 1914.
During the course of the year, HMS SEALION has completed a successful docking in Canada, closely followed by a short work-up. Since then, she has taken part in several NATO exercises and has recently conducted Flag Showing visits to Cherbourg, Amsterdam, and Hull.
Photographed at Chatham on 25 May 1980
This photograph was published in the Illustrated Chronicle on the 4th of March 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
This photograph was published in the Illustrated Chronicle on the 13th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
The very interesting history of the Windsor, North Carolina Confederate Monument, reprinted below, was originally published in the book: Historic Southern Monuments; Representative Memorials of the Heroic Dead of the Southern Confederacy
By Bettie Alder Calhoun Emerson
Published by General Books LLC, Jan 4, 1910
WINDSOR, N. C.
A Confederate monument was unveiled, August 13, in Windsor, North Carolina. Windsor is an old Colonial town near the Atlantic coast, the capital of Bertie County, and its history antedates many years the Revolutionary War. Its public buildings were of brick from England.
It was once a wealthy and aristocratic place, but suffered much in the crucial test of reconstruction and the severe ordeal that followed it. It has recuperated, however, wonderfully, aided by its large and valuable fisheries on the Roanoke River and Albemarle Sound. It is not only historic, but enthusiastically Confederate. It furnished many more soldiers for the Confederate army than it had voters. It was in Bertie County that the celebrated "Captain Byrd's Company" was raised and equipped for the war. That company—of the 1 1th North Carolina Infantry—participated in Pickett's charge at Gettysburg, with thirty-eight men besides its captain (Byrd) and two lieutenants. Thirty-four of them were killed or wounded. Captain Byrd and the four men left for service went into the fight next day, when he and two of the four men were killed.
It was the color company of the regiment, and the flag waved on although its staff was twice shot away. The flag was preserved through and survived the battle. After a time, such of the wounded as were able returned to the company and preserved its organization. Its first-lieutenant, Ed Outlaw, who on that fatal day was under detail by order of General Lee, became its captain, and, with some additions to the company, commanded it in subsequent battles and on until the surrender of Appomattox. Two of the survivors of that charge were on the speaker's stand while General W. B. Bate, of Tennessee, delivered the address at the unveiling of the monument.
Four thousand people were present to witness the ceremonies. A royal welcome was given General Bate, winding up with a public reception at night in his honor. Bertie County was the home of the paternal ancestors of General Bate for several generations, and that added much to the interest of the occasion.
On the front of the monument is this inscription:
WE RESPONDED TO
OUR COUNTRY'S
CALL.
--
WE FOUGHT AN
HONEST FIGHT,
WE KEPT THE
SOUTHRON'S FAITH.
WE FELL AT THE
POST OF DUTY.
WE DIED FOR THE
LAND WE LOVED.
--
ERECTED BY
THE CONFEDERATE
VETERANS
ASSOCIATION
OF BERTIE, 1896
--
OUR CONFEDERATE
DEAD
1861-1865
Learn more at my blog: www.ConfederateDigest.com
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Ballantine paperback - published July 1985
The is a variation of the identical cover art used on the 1st printing - see my Cordwainer Smith set for the other image. CR
contents:
viii • Timeline from The Instrumentality of Mankind • (1975) • essay by John J. Pierce [as by J. J. Pierce ]
• xi • Introduction (The Instrumentality of Mankind) • (1979) • essay by Frederik Pohl
• 1 • No, No, Not Rogov! • [The Instrumentality of Mankind] • (1959) • shortstory by Cordwainer Smith
• 21 • War No. 81-Q • [The Instrumentality of Mankind] • (1928) • shortstory by Cordwainer Smith
• 25 • Mark Elf • [The Instrumentality of Mankind] • (1957) • shortstory by Cordwainer Smith
• 40 • The Queen of the Afternoon • [The Instrumentality of Mankind] • (1978) • novelette by Cordwainer Smith
• 71 • When the People Fell • [The Instrumentality of Mankind] • (1959) • shortstory by Cordwainer Smith
• 85 • Think Blue, Count Two • [The Instrumentality of Mankind] • (1963) • novelette by Cordwainer Smith
• 119 • The Colonel Came Back from the Nothing-at-All • [The Instrumentality of Mankind] • (1979) • shortstory by Cordwainer Smith
• 129 • From Gustible's Planet • [The Instrumentality of Mankind] • (1962) • shortstory by Cordwainer Smith
• 136 • Drunkboat • [The Instrumentality of Mankind] • (1963) • novelette by Cordwainer Smith
• 171 • Western Science Is So Wonderful • (1958) • shortstory by Cordwainer Smith
• 186 • Nancy • (1959) • shortstory by Cordwainer Smith
• 200 • The Fife of Bodidharma • (1959) • shortstory by Cordwainer Smith
• 210 • Angerhelm • (1959) • shortstory by Cordwainer Smith
• 233 • The Good Friends • (1963) • shortstory by Cordwainer Smith